Without Fear

Ryan K Lindsay – Writer

Tag: eric zawadzki

ETERNAL Hits Best of 2018 Lists

2018 saw me publish only a small amount of comic work, but it was inspiring to end the year with one of those books getting a lot of attention in people’s lists of favourite work from 2018.


ETERNAL was created by me and Eric Zawadzki, with Dee Cunniffe on colours, and Dan Hill editing, with Black Mask Studios publishing it and it obviously stuck in people’s minds:
Paste Magazine lists us in the Top 25 Comics of 2018
Villain Media lists us as the best comic of 2018
Pipedream Comics lists us as one of the best comics of 2018
Big Comic Page gave us some end of year love
DoomRocket lsts us one of the best comics of 2018
Comicon puts us near the top of the list of best graphic novels of 2018
The Off Panel website rated us as one of the 20 best comics of 2018

If you want a copy you should talk to your local comic shop, they can still get it in, or it’s here on Amazon. Or if you dug it, drop it a quick star rating on GoodReads :]

Thanks to everyone who already bought a copy, loved it, or told a mate – this book is something I’m really proud of and it made 2018 a memorable year.

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Movember Missive + A Great Comic/Art Deal

Hi all,

A quick line about Movember – a global movement aimed at promoting awareness about men’s health issues, the reason why I’ve spent this month growing a mo, and a great opportunity for you to buy a comic and get an exclusive art print by Riley Rossmo for a good cause.

I believe in Movember because men’s health issues are an insidious seething mess. Depression, suicide, an inability to even go to the doc to get your prostate checked out. It’s rampant bullshit, housed in the septic tank of toxic masculinity, and I’m sick of the stench. I don’t want to be caught up in it, and I don’t want it wafting around for future generations.

The beauty of Movember is that it’s a visible cause – you see a mo this month, odds are it’s in support and solidarity of this great cause. We’re raising money for BeyondBlue, and other places, but we’re mostly just raising awareness.

Movember is personal to me – and let’s face it, there are thousands of good charities and causes to support, but we can’t do it all, so why this one? My father was a victim of the silent killer amongst men, and not a day goes by I don’t think about it in some respect, and it’s been 30 years. I wish Movember had existed back then, I wish men allowed themselves to talk more freely about their feelings back then.


I grow the mo for my dad, and also for my kids.

If you want more information about Movember, you can check the site via my mospace right here!

Or, maybe you want some sweet comics in support of a grand cause?

Right now, you can buy ETERNAL, my ogn with Eric Zawadzki and Dee Cunniffe from Black Mask Studios, on ownaindi.com and an exclusive Movember Viking print with art by superstar Riley Rossmo for just $30, with a portion of proceeds going to the Movember Foundation.

YES PLEASE, GIMME THAT MOUSTACHE SHIELDMAIDEN AND BEAUTIFUL BOOK DEAL!


And if you buy anything else from me at any stage for the rest of Movember, I’ll be sharing money with Movember from all sales – so help yourself to some script downloads, or the BEAUTIFUL CANVAS issues, all for a good cause!

But, if you just want to spread the word about this great cause, maybe talk to the men in your life and see what’s up, then I’d be just as appreciative. I’m growing a mo to save a bro, and we should all let our love show.

ETERNAL Study Hall Guide

I have finally done something in that cross section of comics/teaching/learning/process/nerdy/insane in which I desire to live.

I have written a Study Hall Guide for ETERNAL, and you can buy the digital copy right here!

Screenshot 2018-06-29 22.42.01

This guide helps you unpack the comic I created with Eric Zawadzki, Dee Cunniffe, Courtney Menard, and Dan Hill through Black Mask earlier this year.

I want it to be used by teachers, but also by interested readers, and by people who want to write and are considering how much thematic stuff to layer into their work.

I’ve really enjoyed making this study guide, and there will plenty more to come. Hold onto your butts, because we aren’t finished delving into the curriculum of comics just yet. But I hope you’ll start with me here, and maybe have a little educational fun.

HEADSPACE Has Launched on Kickstarter

HEADSPACE is on Kickstarter, and I think you should check it out because the odds are you’ll dig it a great deal.

SCOPE OUT HEADSPACE ON KICKSTARTER NOW AND CHOOSE A PLEDGE LEVEL

For those who don’t know:

HEADSPACE is a comic created by me, Eric Zawadzki, Sebastian Piriz, Marissa Louise, Dee Cunniffe, and Dan Hill. It’s about a sheriff of a small town who comes to realise he’s trapped inside the mind of a killer.

From there, things go sideways. Should Shane figure out how to leave, or should he stick around a while and see what happens? It’s a tale of dark responsibility, but also a gonzo trip of dog-headed robo-bartenders, and ships armoured in dead bodies, and all kinds of metaphysical fun.

We made this book back in 2014, and now we’re collecting the whole damn thing, plus a tonne of back matter and scripts and annotations and fun in this Digital Omnibus and we can’t wait to get it out into hands.

HAVE A LOOK AGAIN AT THE KICKSTARTER

We think you’re going to find something fun that you’ll like!

 

HEADSPACE Back Matter for Kickstarter

The HEADSPACE Digital Omnibus Kickstarter Campaign launches in one week.

HEADSPACE KS Promo 2

I’m excited to bring the whole miniseries back from me, Eric Zawadzki, Sebastian Piriz, Marissa Louise, Dee Cunniffe, and Dan Hill because I love this story we told about a sheriff trapped in the mind of a killer and trying to work out how to get out, and then figure if getting out is the best thing he can do for the world.

I think, if you haven’t read HEADSPACE already, you’re going to love it. But this campaign isn’t just for those who haven’t read it. I wanted to bring some extra material to the table so even those who’ve had a trip through Carpenter Cove might be enticed into another round.

Obviously this Digital Omnibus collects all 8 issues, making up 112 pages of this story. We’ll also include all the covers. Then we’ll wrap up all the original back matter from the digital releases in 2014 – all material never collected in the trade.

But what else makes this Digital Omnibus necessary?

  • All 8 scripts – you can peek behind the scenes with every single page of script.
  • All 8 issue annotations – I’m a massive nerd who likes to write about the things I’ve written. These are in-depth and I hope you dig them.
  • The Pitch Package – see and read the short pitch we put together and shopped around at ECCC 2013 and marvel at our original cover no one’s ever seen, or the first pages which Eric improved before final publication.
  • I’ll also write a little new extra back matter just for this edition.

Fun, I tells ya.

Carpenter Cove Postcard

So stay tuned for 7 days from now, because we’re going to bring you a bold and thick collection, something I think you’ll love, and something unlike anything else you’ve ever plugged into your screen before.

Oh, and it’ll all be just $5.

You’re welcome.

Especially because this doesn’t even begin to address all of the extra material and downloads, or the bigger and better pledge levels available, we’re going to unlock along the campaign trail. We look forward to seeing you there.

HEADSPACE Coming to Kickstarter

Excited to announce that the ETERNAL dream team of Eric Zawadzki, Dee Cunniffe, and Ryan K Lindsay are joined by Sebastian Piriz and Marissa Louise to rerelease our miniseries HEADSPACE as a gigantic Digital Omnibus Edition that’s one of the most comprehensive and in-depth things I’ve ever assembled.

We launch April/03, and between now and then I’m going to lay out my battleplan and get us all excited for this miniseries about monsters in small towns, and sheriffs in killer’s minds, and the weight of responsibility we all feel.

Plus, it’s me, a tonne of extras and process material.

Stay tuned, this is only going to get more exciting!

ETERNAL OGN from Black Mask in January 2018

I’m insanely excited to announce my latest project, a shieldmaiden ghost story ogn one-shot with Eric Zawadzki at Black Mask.

This book is a serious milestone for me because it’s completely something different. It’s an oversized one-shot – both in page count and page dimensions, with it running oversized like a bande dessinee album – and it’s another chance to collaborate with Eric Zawadzki, from our HEADSPACE.

Here’s the official solicit copy for it:

Order Code: NOV171290
(W) Eric Zawadzki, Ryan Lindsay (A) Eric Zawadzki

A group of isolated shieldmaidens protect their village against a tide of men who think they can take their land land from them. Vif takes her band of women off viking to quell the advances of a loitering mystical scumbag, Bjarte. But some battles rage on inside us long after the field is empty, and some opponents won’t ever stay down. Eternal is a haunting story of how vulnerable you make yourself when trying to protect everything around you.

This oversized bande dessinee graphic novella is a love letter to brutal violence and eternal emotions. With hyperdetailed art and gorgeous fluid motion from artist Eric Zawadzki [hot off THE DREGS], this story will be one of the most beautiful and heartbreaking things you will read this year. Written by Ryan K Lindsay, known for marrying emotion to genre in BEAUTIFUL CANVAS and the award winning NEGATIVE SPACE, this self-contained story is aimed to be a boutique item for your shelves, and a gateway gift to others you know and love.

The book is running a super sweet price of $7.99, and it’s hitting shelves January 31st, 2018.

SCOPE OUT THE COLOURED PREVIEW PAGES HERE!

This is perfect for your shelves [we have a spine], and for you to buy for friends, and stow away as that awesome and affordable stowaway present for when celebrations arise. This is a book to be absolutely adored as Eric’s art is completely wild in it, and Dee Cunnife colours it all with mood and intent and this book really is going to look something special.

Tell your LCS to preorder a stack of them now, because this is going to be 2018 opening with a bang.

ETERNAL – a shieldmaiden ghost story – enjoy.

LITTLE MAN IN THE BIG HOUSE – BIG Free to Read/Download

Just a quick blast to let you know that I’ve got a 12 page short on the Challenger Comics website with glorious art from Paul Tucker [of the recent TET with Paul Allor at IDW] and an Eric Zawadzki cover [my co-pilot on HEADSPACE at IDW], with Ryan Ferrier letters from a script by me.
And it’s free to read and download right now.
READ AND DOWNLOAD ‘LITTLE MAN IN THE BIG HOUSE – BIG’ NOW

Inline image 1The story is about Macbeth, once a superhero with the ability to manipulate size, now he’s a guard at a prison for supercriminals, and on his first day he has to quell a cell block riot. It’s a grand slice of grindhouse fun and shower beatdowns.
This comic/character have been brewing for a while and Paul brings it all to life in such a glorious manner. This comic is just fun, pure fun, and I hope people dig it [especially that one splash, whooo-boy!].
And Macbeth will be back, there’s another 12 page short being illustrated by another artist right now, so hopefully you’ll see more soon.
For now, I know short comics are little game, but I will say you should noodle around the whole site because there are some AMAZING shorts on there.

RKL Annotations – Headspace #8

The final moments, did you really think we’d get a happy ending?
HEADSPACE #8 available on ComiXology now for 99pence.

headspace08_cvr_small
Art by Eric Zawadzki + Sebastiàn Piriz, colours by Eric Zawadzki + Dee Cunniffe, letters by Eric Zawadzki, edits by Dan Hill, back matter design by Christopher Kosek, logo design by Ryan Ferrier, and written by me.

COVER
There are other worlds than these. There must be.

Creepy flat colours, blood, and I love the logo down the bottom. Because it’s digital, the logo can go anywhere, there’s no rack to slot the book into.

PAGE 1
Two silent panels as Shane and the Id showdown. I can’t remember if I scripted it that way, it’s a slow open, and I dig that, because once things start, man, they rocket along.

Day Keene – again, if you haven’t, check him out.

Love the wardrobe of the Max Collective. So varied, so intricate. This is where Zawadzki makes his money, he puts that effort in.

PAGE 2
Another quiet page, huh. Both sequences start off with a quiet page building to a moment that’s the ignition. I dare say I didn’t plan that at all, hashtag happy accidents.

That look on Max’s face, Seb and I discussed that further right before he drew it, and then he went and nailed it. Nailed. It. So creepy, and those two fingers hanging off the handle of his blade, that’s all Seb. I wanted it to look all as casual as possible. Max is about to slaughter two kids, in front of their mother, and it ain’t no thing to him. This is just part of the business. Chilling.

PAGE 3
Such a talky page. Yakkity yak yak. But it just lays down that if Shane thinks there’s another way to change Max’s mind then he’s most certainly mistaken. That’s two dead ends for him. In two pages. Poor bastard returned to be the hero and it’s just not gonna happen. Here is where we steer away from the usual hero tropes, because if Shane could strap on a cape and become a superhero here, well, the usual measures would come up short. So what s left?

PAGE 4
“All your other hippie bullshit love thoughts are half measures that suck.”
That’s me subtweeting the world through comics 😀

But seriously, getting that line just right so it’s not tooo mealy mouthed but so it gets across this frustration and annoyance was tricky but I’m happy with how it came out. I can say the line without it feeling ‘off.’

And look at the aggression on the Id’s face. Eric nails that emotional outburst and then the punch, with the jagged speed lines, is just superb. This moment here, we are done talking.

PAGE 5
Zara Blackwell has only a few moments left. I can’t imagine being in her position.

Who is screaming? I think it’s actually her, as the zipline cuts her wrists, but I left it ambiguous on purpose. I think.

I love Seb’s inset panel of zooming panic on Zara’s face. Like Spielberg in JAWS showing the mounting terror.

PAGE 6
Look at how thick the Id’s arms are, man. I hope people notice that and dig it. The idea these Maxs are all different and this guy is just a bruiser, and one ever growing, was something I really enjoyed cooking up but Eric nails it so hard.

Also, this page is brutal poetry. None of it scripted like this, Eric just knows how to make good pages. Helps that he letters too because that caption flow is dynamite.

PAGE 7
That lightning handover panel, pretty sure that’s all Eric. I love the page/colour break it offers, and then we get the final interaction.

It was actually while scripting this page, as the Kid Max talks, that I realised who Shane had to kill. Initially I had Shane killing the Id, like always planned, and I had him doing it because he came back the master of the realm and could also lift his power, or something stupid, but then as the kid got all Chris Tucker in his face FRIDAY-style, it all became clear, and then things all tie together so much cleaner across the whole narrative. And it all wraps up in so much more of a brutal way, but let’s get to those pages now…

PAGE 8
Sitting back, this page is a masterpiece. The composition, the white bars, the centred text, the empty spaces, the colour change, the way she looks in those panels. This is one of my favourite pages of the whole book. Ugh, that sunset, everything Shane loves, all he’s given up, all he’s giving up. I love that Eric letters his own stuff.

PAGE 9
Annnnnnd we get another masterpiece page.

Funny thing is, I scripted this totally differently. Totally differently. I had a really specific idea, and one I still love, and I can still see it, and yet Eric did something else. And I love this, too. And that’s the thing about collaboration. Sometimes things change. For me, the artist is the peep working on this page and staring at it for a solid day [and change]. I want them to be invested in it, and I want them to bring not only their flavour but also their expertise. Because I might have rad ideas, but they have rad knowledge. So Eric took this page, kind of took my scripted page as a launching point and ended up somewhere else and it’s so good. The red face inset panels are superb and really track the time of this kill so brutally well. And then we get the staggered little panels down the bottom, with the Kid Max shifting in each, and then white space, no words, just emotion [I guess].

Like I said, another masterclass. I’m always excited when we do new things with our comics, but even more excited when it’s with purpose.

PAGE 10
The final page of Max’s story. It’s such an ignominious send off, almost like he’s just a prop in Zara’s page, really. I like that. Max’s story was always strange, and was never ever going to end well. I love the blood droplets in the first panel but the light in the second panel is just glorious synergy between Seb and Dee Cunniffe.

But it’s that final panel. Max, dead, that’s done so craftily. Look at the white space between, like the family surviving is an island away and Max is alone with his death. Except we know he isn’t alone. We know him dying is bad news for Shane. My greatest hope is that people read this issue slowly. Take the time, think about each panel.

PAGE 11
It was long after the issue was finished that I noticed the fractured cracking coming out from Kid Max in that first panel.

And then Shane falls in silence. Only to be picked up one final time. I guess the white space in this issue represents emotion. I love how Shane’s son smiles in that frozen moment. We could almost end there, buuuuuuuut…

PAGE 12
It was late in the game that we changed this to a double page splash. I’ve not been big on writing them since reading more comics on my iPad but this scene kinda just called for it. Again, emotional space is needed [something I’m fighting for in a current script this very week].

I use a word twice on this page and that spells out the whole oblique ending for me. Shane repeats the word ‘hope’ and for me, I think we can have hope for Shane. Or maybe just hope for the world. Hope for his wife, may she find many great years to come. If you think Shane dies within Max here, you’re right. If you think Max’s death causes him to get shunted out, and into his body, and he manages to escape the Rand Intl building self-destructing and he tracks his wife down, you’re right. If you think something else, something that would enable a sequel, yep, that’s my thoughts too. You are right 😀

I love a good open ending on a story. Because we don’t know what happens next, but we know we feel like Shane did the right thing. We feel like he’s redeemed.

[Note: in the seconds before I post this, I will admit, I overwrote this final page. I wish I had the son say his lines and that’s it. Sigh.]

And that’s everything. I really hope you enjoyed this story. I hope it made you think and feel. Maybe anger, maybe awe, maybe a need to tell someone you love them. This work is so important to me, and from the heart, that I want it to sledgehammer people in the chest upon exit. And not with a big shock, but more with the thoughts you still have about it tomorrow night in the witching hour.

HEADSPACE is over, but our thoughts upon it will be our present to take with us forevermore.

BACK MATTER
All hail designer supreme, Chris Kosek. I am going to miss getting these parcels from him :[

I list some peeps I dig. Track them down, fave their stuff, buy their books, enjoy the four colour world.
I did this because as much as I love to prattle on about myself, it’s nice to share the love.

Ah, MODERN WAY by the Kaiser Chiefs. One of the first songs I attached to this book. I love that song. Love that entire album, actually.

I can’t believe we finished our tale. Monkeybrain, and ComiXology, were a hell of a home. For one long year we hustled and made this book the hard way, to low returns, and now as we cross the finish line I can finally see all the places we could have stumbled. Because I’ve seen plenty of stories not get finished there – making comics longform on the cheap is super hard, so I’ve gotta thank Zawadzki, Piriz, Louise, Cunniffe, Hill, and Kosek for rallying on this one. So good.

If you bought all 8 digital copies, seriously, excelsior. If you are a print junkie, then have a think about our trade collection from IDW bringing you the entire story at the end of April [LINK]. It’s probably too late to preorder but hit up your LCS anyways. Land yourself a copy [if you are in Canberra, do it at Impact Comics on the 9th of May and I’ll be there all morning signing them and smiling like a loon].

We are done. Such madness brings glee.

And to steal lines from my back matter for the finish:

As ol’ Gil would say – “You don’t have to go home but you can’t stay here.”
*salutes* “Be seeing you.”

RKL Annotations – HEADSPACE #6

Blame Eric Zawadzki. Blame him for everything that went right here.

HEADSPACE #6 – 99c – all good.

headspace06_cvr_600px

COVER

Best. In. Show. This is my favourite cover of the series, hands down. So simple, so elegant. I love it, and Eric.

PAGE 1

It was Dan’s idea to match the cyclical redundancy of the film reel ended and spinning constantly with the caption of violence essentially doing the same thing in our worlds. This is why I love him as an editor, he thinks on all the levels.

And once again, Eric nails the emotion. It’s moments like these I’m going to miss getting in my inbox when this book ends.

PAGE 2

Using a black panel as a jump cut to get them from inside the house to outside it, and straight into the next scene. I’m surprised this works as well as it does. I didn’t want to fit some other panel of them going outside, getting outside, bumping into the Maxs. I just wanted the drama, so I reached out and took it. Kinda makes Page 1 look like prologue in retrospect, and I’m fine with that.

I think I wanna add this move to my toolchest and use it in the future.

Dig that red panel, that’s all Zawadzki.

Like Chandler, when I split my infinitives, I mean to split my infinitives.

PAGE 3

Gil speaks Latin. Of course he does.

So excited to script his return. This sequence here, man, it went through a whole mess of drafts before landing here. Originally, Shane spent more time moping inside, but it took up too much time, then he confronted all these Maxs outside and had a huge convo with them. Nothing felt right.

Then Max returned, on the ‘gator, and all was perfect. Sometimes you just know a scene isn’t working, well, you gotta keep punching it in the face – and letting it punch you in the face – before you get something better, something worthy.

PAGE 4

Yet another character based moment for Shane. He is our holy lead, bless him.

Also, yet another colour moment from Mr Z. Always love his choices here.

PAGE 5

Suddenly Gil kicks into convenient wrap up/exposition mode, bless him, also.

This whole page is a transition scene, but totally needed and it wraps a few loose ends up – because I did not wanna pull a “LOST” and ask more than I answer [NOTE: I love LOST, always have, always will.]

PAGE 6

RAND International. Behind it all. We should have known.

Sebastian asked me if I would mind him playing with this page. Look at that middle spread, so gorgeous. As if I would ever mind. The more Sebastian and I worked, and the more time we took, the greater things started to pop. The guy is amazing.

And wordplay was a fun idea to play around with, and a science I could completely make my own to serve the narrative. I love sci fi.

PAGE 7

So much happening, Max is unstoppable. Seb does a masterful job of packing all of this in. That final panel is fantastic.

I wanted Max to feel like the terminator, unstoppable, like he’d decimated everyone before it all even really started. I think Seb nailed that speed and efficiency.

PAGE 8

Loooove that double head tap. Great flow, great colours from Marissa. Perfect moment.

Shout out to Tim McEwan 🙂

Also love that helmet, makes me think of Christopher Walken in BRAINSTORM, ha.

PAGE 9

Slow burn set up page for the page turn. A small quiet moment for Shane before we turn up the volume.

PAGE 10

And our volume goes to 11.

When I came up with this idea, I instantly saw it in Eric’s art and I know it’d be immense. Eric did not fail to deliver, this is so grotesque and gorgeous. I figured the Id needed something bombastic, a real entrance, and here it is.

Also, look who is on the very front of the boat? Everything comes together, from the first page to the last. Poor Laura.

PAGE 11

A Bond villain moment ruined by…something strange. I like that the moment is completely interrupted by something different and no one knows what’s going on, not you, not Shane, it just happens and ruins a moment that is building. I like messing with that structure.

And it’s this end that’s all Eric’s idea. I had the script for #6 already written and he said that Shane should get out of the Cove, he should get what he wants, so here we leave him. It’s fantastic drama.

PAGE 12

Salvation, the most key term on this page…except for those of us who know the face of that guy waiting for Shane 😐

BACK MATTER

As always, all hail Christopher Kosek, Designer Supreme of Carpenter Cove.

Seriously go hunt out the back matter, all the back matter, for CASANOVA. Thank me later. And see what a ersatz version you’ve been steeped in here, go guzzle the real deal.

Ambient Yeast link.

ESSAY

Dan Hill makes me hate the world and fear the future – and that’s how I know I need to read his stuff and drain his brain.

PIN UPS

Sandy Jarrell draws Gil and my heart swoons.

Matt Horak, with Marissa Louise colours, just becomes this black velvet/black light poster I wish existed.

——-

This sends us into the final reel. From here, two issues to go, and the business gets real.

We’d also appreciate it if you spread the good word. Indie books live and die on the vine due to exposure and word of mouth. Hit up twitter with #headspacecomic to share your thoughts. Chat with myself @ryanklindsay or Eric @ericxyz and let us know your thoughts. We love to chat about the stuff we create. Or just about other stuff. Tell your friends about the book on Facebook, or in person, actually phone a friend to talk about Headspace, or gift the comic to someone. It’s all appreciated.

We’ll see you for #7 very soon, we’ve already completed and sent the issue in. Til then, have a think about our trade collection from IDW bringing you the entire story at the end of April. Talk to your LCS about preordering it from Previews now, and tell your friends how much they need this in their life, and just stock up for Xmas, or get in for an Xmas in July now.

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